Кіріспе
Сноуден отбасылық тобы - 19 ғасырдағы африкалық-американдық музыкалық ұжым. Ұжымды Огайо штатының Нокс округіндегі Клинтон қаласындағы Сноуден отбасының балалары құрады. Топтың мансабы Америка Азамат соғысынан бұрынғы кезеңнен басталып, тірі адамдар естелігінде сақталғанға дейін созылды; олардың сияқты басқа ешқандай африкалық-американдық топ осы деңгейде ұзақ өмір сүрген жоқ. Сноудендер егіншілікпен айналысып күнкөріс жасады. Бірақ музыка арқылы олар өздерін басым түрі ақ нәсілді қауымға интеграциялап, ақ нәсілді көршілерімен көңіл көтеріп, хат алмасып, тіпті оларды үйретті. Нокс округіндегі ұзақ жылдардан бергі дәстүр бойынша, олар "Дикси" әнін жазуға (немесе жазуға көмектесуге) авторлық құқығы бар деп есептеледі.
Өнер көрсетулер
Сноудендер балалары шамамен 1850 жылдары гастрольдеуді бастады. Басқа қалалардағы достары мен таныстары оларды жиі шақырып, олардың жарнамасы бірнеше жарнама парақтары мен ауыз сөзден басқа ештеңе болмады. Артур Кёрбидің шақыруы мынадай:
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
12 тамызда мерекелік кеш өткіземіз. Көршілер сіздерге хабарласып, сол кеште концерт беріңіздер деп сұрады. Мерекелік кеш мектеп үйінің жанындағы тоғайда өтеді. Егер мүмкін болса, әрі қарай келіңіздер, және егер келе алсаңыздар, маған үш-төрт жарнама парағын жіберіңіздер, мен оларды сіздер үшін іліп қоямын.
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
Егер келе алсаңыздар, үлкен көпшілік жиналады деп үміттенемін. Егер келе алсаңыздар, келесі сенбіге дейін маған жарнама парақтарын жіберіңіздер. Егер жарнама парақтарыңыз болмаса, сол күні кешке келесіздерме деп хабарлаңыз, мен өзім және басқа жігіттер жариялаймыз. Концерттік сапарлары бірнеше күнге созылып, Огайоның ауылдық аймандарына жеткізді. Олар "келісімді карета" деп сипатталған көлікпен саяхаттады және әдетте бір түнгі концерт үшін ауылға немесе қалаға тоқтайтын. Кейде, алысрақ, табыстырақ жерлерде ойнау ұсыныстары келіп түсетін. Миссуриден достары "Бен, егер сендер Луемен бірге осында келсеңдер, концерттер беріп, байлық табасыңдар" деп жазды. Дегенмен, топ Клинтоннан 75 миль (121 км) аралықтан сирек шығатын. Топтың бес тұрақты мүшесі Сноудендердің жеті баласынан таңдалды: София, Бен, Фиби, Марта, Лью (немесе Лу), Элси және Энни. Олардың аспаптары 19 ғасырдың ортасында кең таралған, көбісі дүкеннен сатып алынған. София мен Энни скрипка ойнады, мүмкін, сол кездегі жалғыз әйел скрипкашылар осылар болған шығар. Топтың жарнама парақтары осы ерекшелікті жариялады; 1860 жылдардағы біреуінде "Оларда екі әйел скрипкашы бар. . КЕЛІҢІЗДЕР, әйелдер шеберлікпен ойнаған скрипканы көріңіздер" деп жазылған. Ең кіші бала Энни "бала скрипкашы" деп таныстырылды. Олардың банджолары ақ нәсілді орындаушылардың банджоларына қарағанда төменгі ырғақта ойнатылды. Бен скрипка мен сүйектер ойнады, ал Лью банджо ойнады; Сноудендердің банджолары пердесіз болды, ал біреуі алты ішекті болды. Фиби би биледі. Сонымен қатар, Сноудендердің бірі гитарада, екіншісі флейтада ойнады. Олардың қойылымдарында кейде домбыра, дабыл және үшбұрыш та пайда болып, балалар ән шырқады. Сноудендердің концерті отбасы естілетін жерге жеткен сәтте басталды. Балалар концерт алаңына бара жатқанда, көбінесе мектеп, қалалық әкімшілік, егістік немесе зират сияқты қоғамдық орындарда назар аудару үшін ән шырқады. Кіру ақысы шамалы болды, әдетте ересектерге 25 цент, балаларға 15 цент, төлем бір шапаға бір нәрсе тастау сияқты бейресми болуы мүмкін. Орташа концерттен топ 11-12 доллар табады. Көрермендер негізінен ақ нәсілді адамдардан құралды, ал топ олардың талғамына сай өнер көрсетті, бірақ қара мәдениеті мен мұрасымен байланысын сақтап қалды. Олардың қойылымдарында ерекше көріністер болмады, тек жанды билер ғана болды. Олар репертуарын ноталық музыкадан, поштамен тапсырыс беріп, кітапхана әндерінен және басқа музыканттармен ойнап жинады. Сноудендер нота оқи алмады, сондықтан олар бәрін құлақпен үйренді. Бұл әндердің көпшілігі менстрель шоулары мен цирк қойылымдарынан алынған танымал әндер болды, бірақ топ қара мәдениетін тым төмендететін немесе қаралардың расистік диалектісінде жазылған материалдан аулақ болды. Рухани әндер мен гимндер де олардың қойылымдарының маңызды бөлігін құрады. Импровизация жиі кездесетін. Жергілікті атақты болғанына қарамастан, Сноудендер басқа саяхатшы орындаушылар сияқты күдікке ұшырады және жалпы қара нәсілділерге қатысты нәсілшілдікке тап болды. Ақ нәсілді қала тұрғындары кейде оларға тамақ немесе жатақ бермеген болуы мүмкін, Сноудендер қашып кеткен құлдар деп ойлаған кез келген заң қызметкерлерімен күресуге дайын болуы керек еді. Олар өздерін қорғау үшін өздерінің беделіне сүйенді, ал олардың жарнама парақтары бұл туралы естімегендерге көрсетуге тырысты:
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
Мт. Вернон қаласының азаматтары сіздерге Сноудендер отбасын ұсынады. Біз оларды жастайынан білеміз, олар барлық қолдауға лайық. Олар осы жердің азаматтары және олар өнер көрсеткен барлық жерде жоғары құрметке ие. Олардың әкесі қайтыс болғанға дейін М. Е. шіркеуінің мүшесі болған, ал анасы сол шіркеудің адал мүшесі. Қажет болған жағдайда, жақсы анықтама беріледі. Дегенмен, Сноудендердің ақ нәсілді таныстары да саяхаттың қауіптілігін жақсы білетін. Е. Д. Рут София Сноуденге жазған хатында: "Сіздерден хабар алғанымызға қуаныштымыз және сіздердің аман-есен үйлеріңізге оралғандарыңызға қуаныштымыз. Сіздердің саяхатыңызда жақсы табыс тапқаныңызды үміттенемін. Бірнеше күн бұрын сіздердің не болғаныңызды ойлап, сіздердің бәріңіздің де қайтыс болғаныңызды ойладық. Олар жақсы танылған жерлерде, көбінесе, белгілі бір тұрғындарда түнейтін."
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
Отбасылық өмір
Томас Сноуден, босатылған құл, және Элен Купер, үй қызметшісі, танысып, Нокс округінде үйленді. Олардың тоғыз баласы болды, олардың жетісі нәресте шағынан аман қалды. Томас пен Элен Сноуден екеуі де сауатсыз болғанымен, олардың балалары ақтардың мектебінде оқып, оқу мен жазуды үйренді. Сноудендер негізінен фермерлікпен айналысты, олардың шаруашылығы Клинтон, Огайо штатында, Маунт-Вернон тауының солтүстігіндегі шағын ауылда орналасқан. 1856 жылдың шілде айында 39 жастағы Элен Сноуден 53 жастағы Томас Сноуденнің қайтысынан кейін отбасының басшысы болды. Бірақ көп ұзамай отбасы фермаға ипотека төлеуде қиындыққа тап болды, сондықтан 1859 жылы олар қолжазбаларына "үйлеріне байланысты қарыздарын өтеу үшін қаражат табуға тырысып жатқанын" жазып қосты. 1864 жылы банк олардың фермасының екі бөлігін ипотекаға алды, ал Элен Сноуден келесі жылы қалған ипотеканы төледі. Сноудендердің музыкасы олардың ақ нәсілді қауымдастыққа енуіне көмектесті. Аймақта музыка мен Сноудендер есімдері бірімен-бірі байланысты болды; 1860 жылғы Нокс округінің Моррис қалашығындағы халық санағында олардың "Кәсібі, жұмысы немесе саудасы" "Сноуден тобы" деп көрсетілген, ал 1876 жылғы Маунт-Вернон қалалық анықтамалығында олар "Сноуден Минстрельдері" деп тізілген. Сноудендер жергілікті шараларда өнер көрсетті немесе мынадай шақыруларды алды: "Сноуден және миссис Сноуденді қызының туған күнін тойлау үшін дүйсенбі күні кешке Сэмюэл Альбертс мырзаға шақырамыз. Өтініш, музыкалық аспаптарыңызды алып келіңіздер". Ақ нәсілді Джордж Рут Азамат соғысы кезінде ән салу және скрипка тарту сабақтарын алу үшін отбасымен бірге тұруға тілек білдірді. Сноудендер әлеуметтік тұрғыдан консервативті құндылықтарды ұстанды, хаттары мен музыкаларында әйелдердің ізгілігі, қанағаттылығы және діншілдігі сияқты ұғымдарды мадақтады. Олар Африкалық методист епископтық шіркеуіне қатысты, сол кезде АҚШ-та құлдарды азат етуді қолдаған, ғибадат кезінде музыкалық аспаптарды қолданатын сирек шіркеулердің бірі. Олар құлдықты жою қозғалысын қолдады, бірақ бұл туралы ашық айтқан жоқ. Бен Сноуден 1920 жылы, Лью Сноуден 1923 жылы қайтыс болды. Олар мұрагер қалдырмады.